Conductor ChristianKnapp infused the performance with style, giving the orchestra and chorus manyspecific articulations, adding liveliness to this familiar score. Knapp’stempos were well chosen. He often found the “Baroque groove” that createsrhythmic buzz. Dramatic contrasts at key moments were arresting, particularlyin Part II and the final chorus.
This was the second timethis calendar year when the MSO sounded like a convincing Baroque chamberorchestra. (The first was in the pit for Semelelast spring.) The Milwaukee Symphony Chorus, reduced to 60 singers, was thestar, and deservedly so. As good as the chorus is, more careful attention toAnglican diction and consistent, blended vowels would have taken it to anotherlevel.
In what must have been abudget-cutting move, the soloists were the four resident young artistapprentices of Florentine Opera. Soprano Sarah Lewis Jones’ attractive, largishsound is better suited to Puccini than Handel. A mezzo-soprano singing Messiah needs to be happily comfortablein the lower middle register. Julia Elise Hardin’s voice wanted higherterritory to show its advantage. Messiahneeds a bass or bass-baritone; Scott Johnson’s baritone, though commendable,was simply miscast. Tenor Aaron Blankfield sang at a student level, withintonation issues and complete lack of phrasing.
The MSO Messiah should be a centerpiece event ofits season, and a cornerstone of Milwaukee’sholiday celebrations. At its full potential it could run as many as 10 performances over two weeks. Withbetter soloists and more marketing, the edition heard this year could be anannual event at the level of Milwaukee Ballet’s Nutcracker, or Milwaukee Rep’s AChristmas Carol. The MSO needs this. The city needs it too.
